Blackmagic Design makes ATEM switchers and DaVinci Resolve for edit, colour, audio, and finishing. The tour pairs live switching with post so you can stop treating podcasts like a radio show with accidental cameras.

A tour built around practical workflow demos

Blackmagic Design is running its European Workflow Tour over two days, pitching a complete live and postproduction workflow based on Blackmagic Design products. The promise is faster output and better quality, but the programme does not define formats, targets, or benchmarks. It is a workshop, to try and experiment and look over each others shoulders.

The useful angle is simple: this is a low-risk moment to poke the hardware before you buy it, ask the awkward questions out loud, and compare notes with other crews about what actually breaks at 2 a.m. The programme text does not explicitly describe hands-on access or open networking time, so treat that as an opportunity rather than a guarantee. Dates and cities in the published schedule are Amsterdam on 19 and 20 March, and Berlin on 24 and 25 March.

Day one: podcasts, but with coverage you can fix in post

Day one targets podcast production, specifically turning audio-only podcasts into multi-camera shows. The workflow pitch centres on using ATEM live production switchers for the live cut while capturing ISO recordings of each camera angle, plus the final programme.

That combination is the practical hook: the live switch gives you speed, the ISOs give you options, and DaVinci Resolve is positioned as the finishing and delivery stage. The programme explicitly names delivery to YouTube and X.

The podcast sessions run 11:00–12:00 on “Design a Complete Podcast Production Workflow”, 12:30–13:30 on “Create Video Podcasts Faster with ATEM ISO”, 14:00–15:00 on “Finish and Deliver Podcasts in DaVinci Resolve”, and 15:30–16:30 on “Global Podcast Production with Cloud Collaboration”.

Day two: Resolve for high-volume content and consistency

Day two is framed as “DaVinci Resolve for Content Creation”, with a focus on working in one application from start to finish, handling large volumes of media, maintaining creative control and consistency, and working collaboratively with cloud collaboration.

Sessions run 10:30–12:00 on “Simplify Content Creation with DaVinci Resolve”, 12:30–13:30 on “Edit Large Media Libraries Quickly”, 14:00–15:00 on “Maintain Creative Control and Brand Consistency”, and 15:30–16:30 on “Work Faster with Cloud Collaboration”.

New tools and innovations should be tested before use in production, ideally with your own media, your own deliverables, and a plan for when the first thing goes sideways. So, give it a try at the Workshops!

https://www.blackmagicdesign.com/event/european-workflow-tour-2026

The post BMD European Tour 2026 lets you touch the gear first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

AFX Camera Tagger addresses a very specific but recurring problem in multicamera editing inside DaVinci Resolve. The application’s multicam creation dialogue allows editors to synchronise clips by timecode, waveform, or other methods, and to automatically detect camera angles. That angle detection depends on correctly assigned camrea tags in the clip metadata.

If those tags are missing, Resolve treats each clip as a separate angle. The result is not a clean multicam stack but a staircase of individual tracks, each containing a single clip. For editors handling concerts, interviews or live events with double-digit camera counts, that is not a minor inconvenience.

AFX Camera Tagger automates the assignment of Camera metadata, removing the need to tag clips manually in the Media Pool – for free.

Why tags matter

In Resolve, multicam creation is straightforward. Editors select their clips, choose the option to create a new multicam clip, define a sync method and enable camera angle detection. The angle detection relies on the Camera field in clip metadata. If clips share identical camera tags per angle, Resolve groups them correctly. Without tags, or if angle detection is disabled, each clip is placed on a separate track. The resulting timeline is technically functional but operationally inefficient.

Tags themselves are flexible. They can be any string, provided each camera angle is assigned a distinct value. The system does not enforce a specific naming convention. However, manual tagging becomes tedious in productions with frequent multicam setups or high clip counts.

Two tagging modes

AFX Camera Tagger provides two workflow modes. The first is based on bins, the second on file names.

In the From Bins mode, users select a main folder containing sub-bins with camera clips. After invoking a bin scan, the script lists available bins. A command labelled Set camera from bin names assigns Camera metadata based on the specified bin names. This approach suits ingest structures where each camera angle is organised into its own folder.

The script supports recursive processing, which automatically handles nested folders. According to the developer, deeply nested folder structures are processed without manual intervention. This is relevant for larger productions where DITs deliver structured Media Pools with multiple levels.

The second mode, From Clip Names, addresses the common scenario where all clips reside in a single bin but follow distinct naming patterns per camera. Users select clips in the Media Pool, specify which portion of the file name to parse, and preview detected camera angles before applying them.

The preview step reveals how many unique angles the selected name range produces. If the range is too narrow, the script may detect fewer angles than expected. Adjusting the selected character range corrects this. Once confirmed, the Set camera from clip names function writes the tags to the metadata.

This parsing approach depends entirely on consistent file naming. The tool does not claim to analyse image content, timecode or embedded metadata beyond the Camera field. It strictly operates on folder names or file name substrings.

Metadata handling and safety

AFX Camera Tagger writes to the Camera metadata field. If clips already contain camera tags, users can avoid overwriting them by enabling the relevant protection option. A Clear camera checkbox allows the removal of existing Camera tags from selected clips. Once assigned, tags persist with the clips throughout the project and work with every subsequent multicam synchronisation. The script does not advertise any background services or external dependencies. It operates within Resolve’s scripting environment.

Batch tagging is described as capable of handling hundreds of clips in seconds. The developer does not publish benchmark data. Performance, therefore, depends on project size and system configuration.

Studio requirement

AFX Camera Tagger requires DaVinci Resolve Studio from version 19.1 onwards. It is not compatible with the free edition from that version. Resolve scripting capabilities are typically tied to Studio features. The script is completely free and available for download from Art FX. An installation manual is included in English and Polish.

Practical implications for editors

For editors who regularly build multicam timelines, the tool addresses a narrow but real friction point. Manually entering camera tags via the Metadata panel is straightforward but repetitive. In larger projects, this can become a preventable source of error. The script’s value lies in its ability to map existing organisational logic, folder structure or file naming conventions onto Resolve’s Camera metadata field. It does not introduce new sync methods or alter multicam functionality. It simply ensures that the existing system works as intended.

The functionality is particularly relevant in workflows where assistants prepare Media Pools before the editor begins cutting. Automated tagging reduces prep time and minimises human error in repetitive data entry.

What it does not claim

AFX Camera Tagger does not claim to perform automatic camera detection based on image analysis. It does not claim to modify timecode, reel names or scene metadata. It does not advertise integration with external asset management systems. Its scope is limited to setting or clearing the Camera metadata field based on folder or file name patterns. Within that scope, the workflow appears clear and intentionally minimal.

That simplicity is likely its main strength. It solves one problem while leaving the rest unchanged.

As with any new tool in a professional environment, editors and post supervisors should test functionality, performance and metadata behaviour before deploying it in production pipelines. New tools and innovations should always be tested before production use.

// https://www.art-fx.eu/l/aizbi?layout=profile

The post AFX Camera Tagger sorts your Resolve multicam chaos first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

The mobile video editing tool LumaFusion has introduced two interesting functions with its latest update 5.0: Speed Ramping and Improved Keyframing. Speed Ramping enables smooth adjustment of video speed within a clip, while enhanced keyframing offers more precise control over animations and effects.

Speed ramping is a technique that is widely used in video production and allows you to seamlessly integrate speed changes within a clip. This feature allows you to emphasise certain moments or create dramatic effects by dynamically adjusting the speed. LumaFusion now offers the ability to set speed control points directly in the timeline and smooth the transition between different speeds. This eliminates the need for third-party software and keeps the editing process entirely within one application.

Another key feature of the update is the improved keyframing. Keyframing is a fundamental technique for creating animations and controlling the movement or transformation of clips over time. With the new version of LumaFusion, artists can now set more precise keyframes and fine-tune their movements. This allows more precise control over the position, scale, rotation and transparency of clips. These improvements make complex animations and movements easier, which is particularly helpful when creating effects and transitions.

In addition to speed ramping and keyframing enhancements, LumaFusion now supports a wider range of file formats. In addition to common formats such as MP4 and MOV, ProRes files can now also be imported and edited. ProRes, a high-quality format known for its balance between image quality and file size, is primarily used in professional film production. This extended format support allows you to create projects in LumaFusion that were previously only realisable on desktop software.

In addition to these main functions, the update contains further improvements in the area of audio editing. New audio keyframing options and a more detailed waveform view give you more precise control over the soundtrack of your projects. These improvements are particularly useful when it comes to seamlessly synchronising audio effects and music with visual effects.

As with all software updates, it is recommended that you try out the new features in test projects first to ensure that they work reliably and meet the specific requirements of your workflow.

Pricing and licensing model

LumaFusion is available in the App Store as a **one-time purchase **. For a one-off fee of currently around 30 euros, you get access to all the basic functions of the app, including future updates such as the current one. There are no monthly subscription fees, which makes LumaFusion particularly attractive for artists and filmmakers looking for a cost-effective solution for mobile video editing. Additional in-app purchases, such as special effects and extensions, are also available and can further extend the app’s functionality.

Further details on the latest features can be found on the official LumaFusion website .

The post LumaFusion 5: New features for mobile video editing first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

The latest version of the Blackmagic Camera App for iOS, version 2.0, brings numerous new features and improvements designed specifically for artists and digital production professionals. Key new features include remote control functionality, support for multicam setups, advanced audio settings and new options for colour grading and LUTs.

Remote control and multicam support

With the update to version 2.0, the Blackmagic Camera App receives a remote control function. This makes it possible to control the camera settings remotely, which is particularly useful in complex production environments – live productions, documentaries / interviews and the like. Users can now operate their cameras directly from their iOS device via the app, which makes the workflow much easier and increases flexibility on set.

Another highlight is the support of multicam setups. This function allows multiple cameras to be connected and controlled simultaneously. This is particularly useful for live productions and situations where different angles need to be recorded simultaneously.

Advanced audio settings and new colour correction options

The update also brings improved audio settings. Users can now make detailed adjustments to audio levels and better manage different audio sources. This is a significant advantage for the quality of sound recordings and makes post-production easier.

There are also new features in the area of colour correction. The app now supports an extended range of LUTs (look-up tables) that can be integrated directly into the recordings. This enables more precise colour matching and better control over the final look of the shots.

Supported file formats and compatibility

The Blackmagic Camera App for iOS 2.0 supports various file formats that are commonly used in professional video production. These include ProRes, DNxHD and H.264.

Prices and licence models

The Blackmagic Camera app for iOS is available as a free download from the App Store. Additional functions and extensions can be unlocked via in-app purchases. The pricing is transparent and depends on the specific needs of the user. For the full range of functions, it is advisable to consider the paid extensions in order to fully utilise the potential of the app.

For more information and detailed documentation of the new features, we recommend visiting the official Blackmagic product page and the Blackmagic Camera App documentation.

So far we have no information as to when and if these features will be included in the Android version – but fingers crossed.

Blackmagic Design: Official product page Blackmagic Design: Support and documentation

The post Blackmagic Camera for iOS 2.0 first appeared on DIGITAL PRODUCTION and was written by Bela Beier.